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The Study of Comic Influences on New Generation's Drawing Styles Available online at www.globalilluminators.org GlobalIlluminators FULL PAPER PROCEEDING Multidisciplinary Studies Full Paper Proceeding GTAR-2014, Vol. 1, 173-25 ISBN: 978-969-9948-30-5 GTAR-14 The Study Of Comic Influences On New Generation’s Drawing Styles Li-Chiou Chen1* Department of Information Communication, Yuan Ze University Yuan-Tung Road, Chung-Li, Taiwan Abstract The status of comic was ignored by society in the past, reading comic seems to waste a time and was believed useless for learning. However, due to the help of mass media and the Internet, it has been gradually changed. Comic is not only being a very important part of popular culture, it also is a part of the Cultural and Creative Industry in Taiwan in recent years. The new generation of drawing learners, especially students who study in the universities of art and design related departments, are the people who will work for our cultural and creative industry. These students have more or less enjoyed reading comic since they were young, therefore the often seen styles of comic have imprinted on their memory. The aims of this study hope to understand the new generation of drawing learners, how they have been influenced by comic and how are the relations between drawing styles of the learners and their preferences of comic styles? Therefore the study plans to employ qualitative method to discuss the phenomenon of the learner influenced by comic styles, proving art teachers to have a reference when teaching traditional or digital drawing. The study also analyzes the relevance of the learners’ drawing styles and their preferences of comic styles, giving students have an opportunity to rethink their own drawing styles. © 2014 The Authors. Published by Global Illuminators. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/) Peer-review under responsibility of the Scientific & Review committee of GTAR-2014. Keywords― Comic, Comic Styles, Drawing Learners Introduction In recent years, the social image of comics has gradually improved, which is no longer the same as the neglected way it used to be. The broadcasting of the Internet and media has boosted comics to become an indispensable role in the evolution of mass or popular culture. According to the 2010 Book Publishing Industry Report released by the Government Information Office, Executive Yuan, a total of 28,084 categories of new books were published in 2010. Among them, the number of categories of newly published textbooks accounted the highest at 17.0%, followed by comic books at 16.8% and novels at 16.5%. As to the number of new books being sold, comic books accounted the highest at 23.3%. This figure shows that the comics publishing industry enjoyed a unique performance in the overall book publishing industry. The major group of comic readers age from 12 to 15. However, the age groups of comic readers are expanding (GIO of Executive Yuan, 2010). *All correspondence related to this article should be directed to Li-Chiou Chen, Department of Information Communication, Yuan Ze University Yuan-Tung Road, Chung-Li, Taiwan Email: nameera_ [email protected] © 2015 The Authors. Published by Global Illuminators. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/) Peer-review under responsibility of the Scientific & Review committee of GTAR-2015. Li-Chiou Chen /GTAR-2015/Full Paper Proceeding/Vol-1,173-184 Therefore, in addition to textbooks, comic books are important extracurricular readings for students before they begin studies at university. Drawing learners of the younger generations, particularly art and design related college and university students, will become crucial talents in the design as well as cultural and creative industries in Taiwan. Those students more or less have had the experience in reading comics. Besides, they have been surfing in the works such as comics, TV cartoons, animations, etc. since their childhood, which are all presented in the form of drawing. These popular drawing forms have carved an unforgettable part in their past. Japanese comics have imposed profound influence on Taiwanese adolescents. Many Japanese comic books targeted at young boys and girls, also known as shōnen manga and shōjo manga, are favored by the majority of Taiwanese adolescents. The experience in reading these comic books has created some impact to a certain degree on younger drawing learners planning to engage in the art and design industry. As a result, this study intends to further explore the influence of popular comics on the drawing of art and design related students in Taiwan. Using qualitative method explores those students who were considered having been highly influenced by comic, to understand the effect of comic on their drawing styles. The purposes of this study are as follows. 1. Discussing the influence of comics on young learners’ drawing styles. 2. Exploring the correlations between drawing learners and their preferences for comic styles. Literature Review Development of Comic in Taiwan: Stories told through pictures are generally understood as comic. However, the special comic form developed in Japan is called “manga”. Taiwanese comics are deeply affected by Japanese comics. During the Martial Law period, the development of comics in Taiwan was influenced by the government’s promulgation of the “Guidance Regulations for Editing and Printing Comic Strips” which established the system to review the content and themes of comics produced in Taiwan and prohibit the import of Japanese comics (Chen, 2006). This system consequently led to pirated editions of comics in Taiwan’s market. Such limitation forced some comic creators at that time to learn and familiarize with the drawing techniques by imitating Japanese comics. Therefore, the comic style during the said period was profoundly affected by Japanese comic styles. After the Martial Law was lifted, the censorship system was abolished. The themes of comics were no longer strictly confined. The development of local comic creators became alive during the peak when Japanese comic works were crazily pirated. The phenomenon of piracy wasn’t gradually stopped until the new copyright law was implemented. The comic publishers in Taiwan recruited local talents through competitions and further signed copyright contracts with Japanese publishers so as to produce comic books featuring both local and Japanese characteristics popular among readers. Until this period, there had been many local comic creators, such as Uen Chen, A Tuei and Ren-Chieh Mai, active in the international stage. The development of comic market in Taiwan was faced with a rapid recession because East Asia was engulfed in the financial crisis (Su, 2006). International Conference on Global Trends in Academic Research” (GTAR- 2015) 174 Li-Chiou Chen /GTAR-2015/Full Paper Proceeding/Vol-1,173-184 In recent years, Taiwan’s government has gradually paid more attention to the cultural and creative industry (Yeh, 2007). For cultivating talents engaged in the comic industry, related competitions have been held to unearth potential newcomers. In addition, these newcomers have been guided to publish their works or have further study abroad in order to foster another rise of the comic industry. The new path being developed by younger Taiwanese comic creators is now booming. Meanwhile, it is internationally affirmed. The comic industry has come to light again through news reports in Taiwan. Apart from traditional printed versions, Taiwan’s comic industry is actively seeking Internet channels that used to conflict with copyrighted editions but now features high circulation to serve as optional platforms to release local comic works (Liu, 2011). The prosperously developed Internet has become a platform for amateurs to release their works. The graphic-text blogger, Wan Wan, became famous overnight because she depicts work and daily lives via comics (Hong & Chao, 2008; Chen, 2007). Since then, there have been more and more graphic-text bloggers engaged in running personal journals in the form of comics known to the public. By catching the rise of the development of local and original comics in Taiwan, the Academia Sinica Digital Archives team published the Creative Comic Collection (Hsia, 2012) by transforming stiff digital archives into reader-friendly comics. The participants of this program are comic creators of the younger generations in Taiwan. Through both traditional printed versions as well as online digital versions, the works produced by these comic creators have embraced diverse directions of development instead of only having the old-fashioned way of publication. Such action has turned the crisis brought by the Internet world into an opportunity. The Internet has also become one of the platforms for the comic creators to release their new works. In recent years, the idol dramas produced in Taiwan have gradually sprung up, creating an environment for the entertainment and media industries to reach out its hand to the comic circle. Many Taiwanese comic creators have been invited to make contributions to the industries. Being boosted by the plots of local idol dramas and stars, the sales of adapted comics double that of literary works produced by writers. Adapted comics have sometimes ranked the monthly best-selling books. Comics and dramas are complementary to each other. Though such combination didn’t commence soon, it indeed paves another path for junior comic creators in Taiwan (Chou, 2011; Chen, 2006). The early development of Taiwanese comics was generally influenced by Japan. It has now stepped forward its own direction and become a part in developing the cultural and creative industries. The platforms for the younger generations to release their comic works are no longer confined to traditional printed forms. The rise of the Internet has provided new platforms for comic creators. Until now, graphic-text journals have been popular among readers.
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